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The Mongrel Tate Collection
The Tate's collection Mongrelised into its own past and present
with the mud, skin and scabs of the Thames. |
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Mongrel Tate Britain
The home of 500 years of tasty babes, luxury goods, own goals
and psychological props of the British social elite. |
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Tate Modern Mongrel
A major new gallery showing tasty babes, luxury goods, own
goals and psychological props collected by the British social
elite, housed in the former Bankside Power Station on the
south bank of the Thames. |
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Liverpool Mongrel Tate
The largest modern art gallery in the UK set up with the help
of the Toxteth riots.
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Mongrel Tate St Ives
Modern British art in a spectacular coastal setting located
in one of the lowest waged areas of Britain. |
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Welcome to the Mongrel Tate website
"Uncomfortable Proximity" is the title of this on-line
project created by Harwood, a member of the Mongrel collective.
Commissioned by Tate National Programmes, it mirrors the Tate's
own web-site, but offers new images and ideas, collaged from his
own experiences, his readings of Tate works and publicity materials
and his interest in the Tate Britain site. Related critical texts
by Matthew Fuller are in the Connections section of the Tate web-site".
Sandy Nairne, Tate Director of National Programmes .
The Tate's scrapbook of British pictorial history has many missing
pages, either torn out through revision or self-censored before
the first sketch. Those that did make it created the cultural cosmetics
of peoples profiting from slavery, migrant labour, colonisation
and transportation. Clearly the images in
the historic collection and the image of the Tate itself are pregnant
with the past's cosmetic cultural surgery made ready for the shopping
lists of the future. The skin of these paintings was stretched over
a psychological frame, a shield against which were thrown the filthy,
diseased, rotting corpses of daily life, profit and excess. The
scrapbook's scalpelled pages will never be found but they articulate
in their absence the political and economic relations of that society
and of ours. While Tate can never be fully inclusive of peoples'
histories that may have run counter to its own, it can at least
be a site of critical participation in the present history of cultural
cosmetics of these islands.
Harwood
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